Electric Flag
HOWLIN' WOLF
In the history of the blues, there has never been anyone quite like the Howlin' Wolf. Six foot three and close to 300 pounds in his salad days, the Wolf was the primal force of the music spun out to its ultimate conclusion. A Robert Johnson may have possessed more lyrical insight, a Muddy Waters more dignity, and a B.B. King certainly more technical expertise, but no one could match him for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits.
CLICK HERE FOR EVEN MORE UNIQUE HOWLIN' WOLF VIDEO.
He was born in West Point, MS, and named after the 21st President of the United States (Chester Arthur). His father was a farmer and Wolf took to it as well until his 18th birthday, when a chance meeting with Delta blues legend Charley Patton changed his life forever. Though he never came close to learning the subtleties of Patton's complex guitar technique, two of the major components of Wolf's style (Patton's inimitable growl of a voice and his propensity for entertaining) were learned first hand from the Delta blues master. The main source of Wolf's hard-driving, rhythmic style on harmonica came when Aleck "Rice" Miller (Sonny Boy Williamson) married his half-sister Mary and taught him the rudiments of the instrument. He first started playing in the early '30s as a strict Patton imitator, while others recall him at decade's end rocking the juke joints with a neck-rack harmonica and one of the first electric guitars anyone had ever seen. After a four-year stretch in the Army, he settled down as a farmer and weekend player in West Memphis, AR, and it was here that Wolf's career in music began in earnest.
By 1948, he had established himself within the community as a radio personality. As a means of advertising his own local appearances, Wolf had a 15-minute radio show on KWEM in West Memphis, interspersing his down-home blues with farm reports and like-minded advertising that he sold himself. But a change in Wolf's sound that would alter everything that came after was soon in coming because when listeners tuned in for Wolf's show, the sound was up-to-the-minute electric. Wolf had put his first band together, featuring the explosive guitar work of Willie Johnson, whose aggressive style not only perfectly suited Wolf's sound but aurally extended and amplified the violence and nastiness of it as well. In any discussion of Wolf's early success both live, over the airwaves, and on record, the importance of Willie Johnson cannot be overestimated.
Wolf finally started recording in 1951, when he caught the ear of Sam Phillips, who first heard him on his morning radio show. The music Wolf made in the Memphis Recording Service studio was full of passion and zest and Phillips simultaneously leased the results to the Bihari Brothers in Los Angeles and Leonard Chess in Chicago. Suddenly, Howlin' Wolf had two hits at the same time on the R&B charts with two record companies claiming to have him exclusively under contract. Chess finally won him over and as Wolf would proudly relate years later, "I had a 4,000 dollar car and 3,900 dollars in my pocket. I'm the onliest one drove out of the South like a gentleman." It was the winter of 1953 and Chicago would be his new home.
When Wolf entered the Chess studios the next year, the violent aggression of the Memphis sides was being replaced with a Chicago backbeat and, with very little fanfare, a new member in the band. Hubert Sumlin proved himself to be the Wolf's longest-running musical associate. He first appears as a rhythm guitarist on a 1954 session, and within a few years' time his style had fully matured to take over the role of lead guitarist in the band by early 1958. In what can only be described as an "angular attack," Sumlin played almost no chords behind Wolf, sometimes soloing right through his vocals, featuring wild skitterings up and down the fingerboard and biting single notes. If Willie Johnson was Wolf's second voice in his early recording career, then Hubert Sumlin would pick up the gauntlet and run with it right to the end of the howler's life.
By 1956, Wolf was in the R&B charts again, racking up hits with "Evil" and "Smokestack Lightnin'." He remained a top attraction both on the Chicago circuit and on the road. His records, while seldom showing up on the national charts, were still selling in decent numbers down South. But by 1960, Wolf was teamed up with Chess staff writer Willie Dixon, and for the next five years he would record almost nothing but songs written by Dixon. The magic combination of Wolf's voice, Sumlin's guitar, and Dixon's tunes sold a lot of records and brought the 50-year-old bluesman roaring into the next decade with a considerable flourish. The mid-'60s saw him touring Europe regularly with "Smokestack Lightnin'" becoming a hit in England some eight years after its American release. Certainly any list of Wolf's greatest sides would have to include "I Ain't Superstitious," "The Red Rooster," "Shake for Me," "Back Door Man," "Spoonful," and "Wang Dang Doodle," Dixon compositions all. While almost all of them would eventually become Chicago blues standards, their greatest cache occurred when rock bands the world over started mining the Chess catalog for all it was worth. One of these bands was the Rolling Stones, whose cover of "The Red Rooster" became a number-one record in England. At the height of the British Invasion, the Stones came to America in 1965 for an appearance on ABC-TV's rock music show, Shindig. Their main stipulation for appearing on the program was that Howlin' Wolf would be their special guest. With the Stones sitting worshipfully at his feet, the Wolf performed a storming version of "How Many More Years," being seen on his network-TV debut by an audience of a few million. Wolf never forgot the respect the Stones paid him, and he spoke of them highly right up to his final days.
Dixon and Wolf parted company by 1964 and Wolf was back in the studio doing his own songs. One of the classics to emerge from this period was "Killing Floor," featuring a modern backbeat and a incredibly catchy guitar riff from Sumlin. Catchy enough for Led Zeppelin to appropriate it for one of their early albums, cheerfully crediting it to themselves in much the same manner as they had done with numerous other blues standards. By the end of the decade, Wolf's material was being recorded by artists including the Doors, the Electric Flag, the Blues Project, Cream, and Jeff Beck. The result of all these covers brought Wolf the belated acclaim of a young, white audience. Chess' response to this was to bring him into the studio for a "psychedelic" album, truly the most dreadful of his career. His last big payday came when Chess sent him over to England in 1970 to capitalize on the then-current trend of London Session albums, recording with Eric Clapton on lead guitar and other British superstars. Wolf's health was not the best, but the session was miles above the earlier, ill-advised attempt to update Wolf's sound for a younger audience.
As the '70s moved on, the end of the trail started coming closer. By now Wolf was a very sick man; he had survived numerous heart attacks and was suffering kidney damage from an automobile accident that sent him flying through the car's windshield. His bandleader Eddie Shaw firmly rationed Wolf to a meager half-dozen songs per set. Occasionally some of the old fire would come blazing forth from some untapped wellspring, and his final live and studio recordings show that he could still tear the house apart when the spirit moved him. He entered the Veterans Administration Hospital in 1976 to be operated on, but never survived it, finally passing away on January 10th of that year.
But his passing did not go unrecognized. A life-size statue of him was erected shortly after in a Chicago park. Eddie Shaw kept his memory and music alive by keeping his band, the Wolf Gang, together for several years afterward. A child-education center in Chicago was named in his honor and in 1980 he was elected to the Blues Foundation Hall of Fame. In 1991, he was inducted into the Rock and Roll Hall of Fame. A couple of years later, his face was on a United States postage stamp. Live performance footage of him exists in the CD-ROM computer format. Howlin' Wolf is now a permanent part of American history.
Born Chester Arthur Burnett, June 10, 1910, in West Point, MS; died of complications from kidney disease January 10, 1976, in Chicago, IL; son of Dock and Gertrude Burnett (plantation workers); married first wife c. 1930s; married wife, Lillie, c. 1950s; children: (second marriage) Barbara, Betty Jean. Religion: Southern Baptist.
Blues singer, guitarist, and harmonica player. Toured with fellow bluesmen, including Robert Johnson and Sonny Boy Williamson c. 1930s. Worked as singer, producer, and advertising salesman at KWEM Radio in West Memphis, TN. Released first album in 1951 on Chess Records; toured the U.S. and Europe, with Chicago as his primary venue, 1952-c. 1976. Appeared in short film Wolf, 1971. Military service: U.S. Army, stationed in Seattle, WA.
Awards: Honorary doctor of arts degree from Columbia College, Chicago, 1972; Montreux Festival award for album Back Door Wolf, 1975.
Albums:
Big City Blues, United, 1966.
The Real Folk Blues (recorded c. 1956-65), Chess, 1966.
(With Hubert Sumlin, Otis Spann, Willie Dixon, and others) More Real Folk Blues (recorded c. 1953-57), Chess, 1967.
The London Howlin' Wolf Sessions (featuring Eric Clapton, Steve Winwood, and The Rolling Stones), Chess, 1971.
Message to the Young, Chess, 1971.
The Back Door Wolf, Chess, 1973.
Change My Way, Chess, 1977.
Moanin' in the Moonlight (recorded 1951-59), Chess, reissue, 1987.
Cadillac Daddy: Memphis Recordings, 1952, Rounder, 1989.
Chicago: 26 Golden Years, Chess.
His Greatest Sides, Vol. 1, Chess.
Howlin' Wolf: Moanin' in the Moonlight, Chess.
Live and Cookin' at Alice's Restaurant, Chess.
Evil, Chess.
Howlin' Wolf: Chess Blues Masters, Chess.
The Legendary Sun Performers: Howlin' Wolf (British import), Charly.
I'm the Wolf, Vogue.
This Is Howlin' Wolf's New Album (British import), Cadet C.
From Early til Late, Blue Night.
Going Back Home (British import), Syndicate Chapter.
Heart Like Railroad Steel: Rare and Unreleased Recordings, Vol. 1, Blues Ball.
Can't Put Me Out: Rare and Unreleased Recordings, Vol. 2, Blues Ball.
Ridin' in the Moonlight, Ace.
Sources: Cub Koda, All Music Guide; artistdirect.com; B. Kimberly Taylor
This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you. Content@rokpool.com
Why Not Check Out
Muddy Waters
B.B. King
John Hammond, Jr.
Keith Richards vs Chuck Berry
The Rockin' Berries
Rokpool's Official Merchandise Store
Gram Parsons
This highly influential artist Gram Parsons was born Cecil Ingram Connor III in November 1946. Born into a wealthy family, his early life was spent split between Florida and Georgia. Early tragedy punctuated his life when first his farther committed suicide then his mother died following years of excessive drinking. He had by now taken the name of his stepfather and was to find solace in music.
From the age of 16 he played in local bands, mostly playing rock and roll covers but soon discovered folk music and formed his first professional band in 1963. He spent a brief, if unspectacular term at Harvard University before dropping out after meeting guitarist John Nuese who persuaded Parson’s to give up on the folk music he had been playing and to join him to play in a more country based style. Recruiting Ian Dunlop on bass and Mickey Gauvin on drums, they formed the International Submarine Band. In early 1966 the band relocated to New York and recorded a couple of singles and most of a subsequently scrapped album.
When success eluded them in New York, Parsons moved out to Los Angeles. Able to live from a substantial trust fund, Parsons soon became part of the film community, befriending Peter Fonda and starting a relationship with actress Nancy Ross. Following recommendations from Ross, the rest of the band joined Parsons in LA and soon blagged themselves a part in the psychedelic exploitation film “The Trip” Despite recording some songs for the film, music from The Electric Flag was preferred although Parsons and the band can be seen in the film, Parsons was by now convinced that the path to success lay in country music and particularly in the new Country Rock sound that was fighting to be established. Dunlop and Gauvin disagreed and left. Good fortune was just around the corner however, and duo were picked up and signed just days later to Lee Hazlewood’s label, LHI records.
With just Parsons and Nuese left from the original band, session musicians were drafted in to record the bands only album. "Safe At Home". Containing a number of Parsons original compositions, the album was due for release in early 1968 but was put on hold as just prior to this, Parsons had auditioned to replace David Crosby in the Byrds and was finally put out much later that year. Having passed the audition, he was soon to join the new band recording the album “Sweetheart Of The Rodeo” also released in 1968.
CLICK HERE FOR EVEN MORE UNIQUE GRAM PARSONS VIDEOS
Unfortunately, Parsons was still signed to LHI and his new band mates to Columbia. This result of this was that Parsons was hired, along with Kevin Kelley, as sidemen and not full band members. Despite this, to the outside world, Parsons was a full member and was given equal billing and contributed some fine songs to the album, including the classic “Hickory Wind” Due to the contractual complications, many of Parsons vocals had to be replaced (by Roger McGuinn) and his only lead vocals appear on just three tracks. Recorded partly in the country music stronghold of Nashville, this album truly paved the way for Country Rock to take off. With this album, the Byrds left behind the frivolous world of psychedelic pop to bring country music to the masses.
Ever restless, Parsons was to quit the Byrds during a tour of England late in 1968 (a busy year!) allegedly due to the bands planned concert in the political hot potato of South Africa. Parsons spent some time in England and became friendly with The Rolling Stones, particularly Keith Richards who had his interest in country music re ignited by the American.
Following his return to the States, Parsons prised Chris Hillman away from the Byrds and the pair formed the “Flying Burrito Brothers” with Chris Ethridge and Pete Kleinow. They were soon in the studio to record their debut album, the exotically titled “The Gilded Palace Of Sin” Now acknowledged as a classic of the genre, the album mixed traditional sounds of folk, country and gospel with contemporary electric guitars. Once again, commercial success eluded them while some critics were confused and some found the conflicting styles confusing. With Michael Clarke joining on drums, the band toured across the States. Now indulging in copious amounts of drugs, Parsons live performances were inconsistent at best, a lifestyle also followed by Ethridge, who, no longer sharing the bands vision, left.
When the Stones relocated to the States in 1969, the situation worsened. Writing new songs and rehearsing with the band took second place to partying with the Stones and the bands reputation dwindled. A short set opening at the infamous Altamont Festival did little to raise the bands profile. With their record label trying to salvage something and to try to recoup some of their investment, they were ordered into the studio to record anything that might encourage commercial returns. After some sessions, with hastily written songs and using some of the out takes from “The Gilded Palace..” "Burrito Deluxe" was completed and released in April 1970. Although under par, the album was notable for the inclusion of the Jagger/Richards classic “Wild Horses” the first ever recording of the song. After again lacking any commercial success and this time also receiving some harsh criticism from the press, Parsons walked out. The band would continue for a while longer, recording two subsequent albums.
Signing immediately as a solo artist with A&M, he started work on an album with famed producer Terry Melcher. By now in the grip of the unholy trinity of cocaine, heroin and drink, Parsons was uninspired and the sessions returned little in the way of new music. Putting the album on hold, he returned to the comforting fold of the Keith Richards and the Stones where he was still considered a major talent. Following the Stones to Europe where they were working on their “Exile In Main Street” classic, he may have contributed some vocals on some tracks but, understandably, things are a bit cloudy around these sessions. Eventually, Parsons was considered a distracting influence and left the Stones compound at the insistence of Anita Pallenberg.
Now married to actress Gretchen Burrell, Parsons disposition changed. Now off heroin and revitalized, he started back again on his solo record. With the help of recently befriended Emmylou Harris, “GP” was released in 1973. In support of the album, a States wide tour commenced. While a bit ragged at first, the band, including Harris, were soon playing to enthusiastic audiences with high profile fans such as Neil Young and Linda Ronstadt leading the applause. The album however followed the same pattern as previous releases and failed to chart.
In the summer of 1973 work commenced on what was to be his final album. Now kept away from most chemical distractions, he was making a serious attempt to put his career and life back on track. Again using most of the musicians on “GP” the paucity of new, original material however, resulted in a messy collection of reworked oldies, cover songs and hastily written originals. Finally completed in September, Parsons retreated to California for some rest and recreation. Staying at the Joshua Tree Inn at the site of the national monument there, Parsons often visited and stayed in the area and described it as his favourite place.
Less than two days after arriving, he died from an overdose of alcohol and morphine aged just 26. When that final album was released in January 1974, it was much changed from the album envisaged by Parsons. His widow, Gretchen, who Parsons was due to divorce, changed the running order of the songs, removed the original title track “Sleepless Nights” completely, changed the cover photo and relegated the role Emmylou Harris had to next to nothing. Now called “Grievous Angel” the album has grown and grown in its influence and many critics believe that it achieved Parsons vision of “Cosmic American Music”
Parsons death has gone into rock folklore. Drunkenly telling his loyal manager Phil Kaufman that he wanted to be cremated and have his ashes scattered across the desert he loved, Kaufman did his bidding. “kidnapping” his body from Los Angeles airport where it was going to be taken to Louisiana for a private ceremony, Kaufman instead drove the coffin into the desert and set fire to it and although his ashes were never scattered, they at least were in the desert.
Parsons life and early death tell a tragic tale. Never successful with any of the bands he played with, he would too often jump ship in a desperate attempt for fame and acclaim. Never needing to struggle for his art like so many of his contemporaries, he could drift from one project to the next. An addictive personality, no doubt inherited from his mother, his struggle with the lack of fame must have been hard to take. As his reputation grew posthumously, coupled with the mystique of his death, so his influence grew. Regularly credited with starting the country rock genre and cited as a major influence for such bands as the Eagles, Poco and the Doobie Brothers, his importance is assured. His recordings have continued to be released to his ever faithful fans with many compliations and collections adding to his brief portfolio.
Has the reputation and critical influence been exaggerated with a tragically early death and such high profile “friends” making him the american Nick Drake. I wonder.
Roger Gibbens
This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you.Content@rokpool.com
